Tribal Culture of Odisha

tribal-orissa-india-malkangiri-maoists-revolution2Odisha occupies an unique position in the ethnographic map of India for having the largest variety of tribal communities.Although they are found in all the districts of the State, yet more than half of their total strength are found in the districts of Koraput, Rayagada, Naurangpur, Malkangiri, Kalahandi, Nauapara, Kandhamal, Baudh, Keonjhar, Sundargarh and Mayurbhanj.

The tribes of Odisha are at various stages of socio-economic development. At one extreme are the group which lead a relatively secluded and archaic mode of life keeping their core culture intact, while at the other extreme there are communities which are indistinguishable from the general agricultural communities.

Any society – tribal or otherwise, comprises of organised groups of people who have learnt to live and work together interacting in the pursuit of common goals. Each society has its own rules of business and tricks of trade which helps its people to define their relationship with one another and live and work together. Therefore a society is a going concern and functions and perpetuates itself on the basis of the rules for living together.

The tribal people express their Cultural identity and distinctiveness in their social organisation, language, rituals and festivals and also in their dress, ornament, art and craft. They have retained their own way of managing internal affairs of the village mainly through two institutions namely, the village council and the youth dormitory. The dormitory is the core of tribal culture and it reinforces the age-old traditions. In Odisha this institution occurs among many tribal communities in some form or other. The Juangs call it Majang and Darbar, the Kondhs call it Dindaghar, the Bhuyans call it Dhangarabasa and among the Bondos it goes by the name Ingersin. Of all the tribes the dormitory system is well organized among the Juang. Conspicuous in the village, the Mandaghar is the largest hut. It has wall on three sides and is open in front. The wooden parts and side walls are carried with decorative symbols depicting animals. The boys hang their changu, a flat tambourine like drum which is used at the time of dancing. In front of the Mandaghar is the small open space where dance takes place almost every night after the day’s work is over. The dormitory is so to say a school of dancing and expression of the communal art of the people. The elders of the village assemble at the dormitory house every day for every important event in their corporate life. Here they discuss matters concerning the welfare of the village, settle the distribution of swidden and fix date and time for celebration of the village festivals, etc. In these respects the dormitory may be considered as the centre of social, economic and religious life of the village.

The amazing conglomeration of traditions, beliefs, sorrows and philosophies that together constitute and vitalise the rituals and festivals of the tribes, has descended from antiquity and has been preserved unimpaired to the present day. Every facet of their life covering round-the-year activities is intimately connected with religious beliefs and ritual practices. It is these aspects of their culture that give meaning and depth to their lives, and solidarity to their social structure.

The tribes believe that their life and work are controlled by supernatural beings whose abode is around them in hills, forests, rivers and houses. It is very difficult to standardize the Gods and spirits as their composition continually changes when old ones are forgotten with the introduction of new ones. Their Gods differ from one another in composition, function, character and nature. Some are benevolent; some are neutral and some are malevolent. The malevolent spirits and Gods are cared more than their benevolent counter parts as they can bring misery.

Manipulation of environment being the main concern of the tribals, all the ritual acts are directed towards stimulating natural processes. Illness or misfortune is attributed to displeasure and malicious act of the Gods or ancestors. The sacrifice of different kinds of livestock accompanied by all the rites and ceremonials of fetishism is considered appropriate appeasement. Moreover, their extremely superstitious nature prohibits the undertaking of any enterprise unless the Gods are first appeased and the omens, after being carefully considered, are adjudged to be propitious.

Among the tribes there are religious functionaries who cater to their spiritual needs. For example, the hierarchy of priests among the Saoras may be divided into three categories. The Buyya is a  priest who presides at agricultural festivals and offers sacrifices that especially characterize these occasions. The Kudan is a shaman who combines the functions of priest, prophet and medicine-man. The sacerdotal head among the Juang is called Nagam or Buita, Pujari or Sisa among the Bondos and Jani among the Kondhs. The post of these officials are mostly ascribed but not achieved.

The ceremonies and festivals of the tribes can be classified into two groups, that is, those that relate to the individual families and those that relate to the village as a whole. The ceremonies and rites relating to birth of a child, marriage, death are observed family-wise whereas those relating to various agricultural cycle, eating of new fruits, hunting, etc. are observed by the village community.

Some of the important festivals observed by the tribal communities of Odisha include Guar ceremony of the Saora, Gotar of the Gadaba, Push Punei of the Juang, Kedu of the Kondh, Karam festival of the Oraon, Chait Parab of the Bondo and Magha Parab of the Santal.

With the advent of time, traces of borrowing from Hindu Pantheon and religious ceremonies are noticed among the tribes of Odisha. They have started worshipping Siva, Parbati and Lord Jagannath. Hindu festivals like Raja, Laxmipuja, Dasahara and Gamha are also becoming popular among them day by day.

The tribes of Odisha, despite their poverty and their pre-occupation with the continual battle for survival, have retained the rich and varied heritage of colourful dance and music forming integral part of their festivals and rituals. Among them, the dance and music is developed and maintained by themselves in a tradition without aid and intervention of any professional dancer or teacher. It is mainly through the songs and dances the tribes seek to satisfy their inner urge for revealing their soul. The performance of these only give expression to their inner feelings, their joys and sorrows, their natural affections and passion and their appreciation of beauty in nature and in man.

Although the pattern of dance and music prevalent among them vary from tribe to tribe yet there are certain features common to all. Tribal dances have some accompaniments by means of which the rhythm is maintained. This consists of clapping of hands or beating of drums or an orchestra of different instruments. Every dance is accompanied by a song which is sung by the performers. Both men and women, young and old dance and invariably sing but the accompanying orchestra or music is usually provided by the male members. Tribal dance is characterized not only by its originality and spontaneity but also for its wide range of movements. Many parts of the body such as head, back, arms, feet. finger, etc. are brought into play. Some of the tribal groups put on colourful dancing costume during their performance.

Like dance, the songs sung by different tribal groups differ from one tribe to the other. Among the tribes everyone is a musician and poet. When happily inspired, they can coin a song then and there and sing it. Like any others, when they see things of beauty and meet pleasantly, they exhibit this  pleasure and happiness by composing songs. One finds in these songs humours, jokes, romance, satires, criticisms, acquisitions and anger. Though there is no modernity and fineness, their ideas being natural, the compositions are good, inspiring and melodious. On the occasion of performing Pujas and observance of festivals the songs sung are different. Such songs are adopted from the past so many years. These songs describe the history of gods, the process of creation and some epic stories.

Odisha TribalThe joy of free life find expression in tribal art and craft. It is through this endeavour their cultural self-image and aesthetic sensibility are visualized. The artistic skill of the tribal people is not only manifested in their dance and music but also in their dress and ornaments, wall-paintings, wood carvings and decorations, etc. The beautiful wall-paintings and floral designs of the Santals and the ikons of the Saoras which depict geometric designs and stylistic figures of plants and animals are the best example of tribal art. The multicoloured designs and relief figures of animals and human beings which decorate the walls of Mandaghar in Juang society are indeed works of very high order. Similar wall-paintings and decorations as observed among the Mundari group of tribals are also very attractive.

Some of the tribal communities like the Bondo and the Gadaba have their own looms by which they weave clothes for their own use. These hand spun textiles of coloured yarn are examples of best artistic skill of these people. So also among the Dongaria Kondhs the ladies are very much skilled in making beautiful embroidery work in their scarf. The tribal women in general and the Bondo, the Gadaba and the Dongaria Kondh women in particular are very fond of using ornaments. The Bondo women who are considered most primitive, look majestic when they wear headbands made of grass, necklaces of coloured beads and girdles made of brass on their bodies. All these are expressions of their artistic quality and aesthetic sense.

The tribal people turn out excellent handicrafts for their own use. The wood carving of the Kondhs, metal works by lost wax process among the Bathudis, cane and bamboo basketry works among the Juangs and Bhuyans, are all symbolic of artistic creation.

Some of the famous tribal dances of Odisha are mentioned in the description that follows:
The Juang dance which goes by the popular name of “Changu dance” is performed by both men and women. Besides, they perform other types of dances such as deer dance, elephant dance, bow dance, pigeon dance, bear dance, koel dance and peacock dance. They dance and sing when they are in happy mood. The dance also forms an integral part of their social and ritual festivals. The Juang do not have any special dress for dancing. While dancing the girls stand in a straight line in front of the boys. While the dance goes on, the line becomes semicircular. The girls hold each other’s wrist or hand-in-hand and move forward and backward in bending posture. The boys stand in a straight line which becomes a curve during dance. The musical instruments which are used during their dance are Badakatha (Drum), Dhola (Small drum), Madala and Changu (Tambourine).

The Saoras do not dance frequently as the Juangs and the Gadabas do. The Saora dance is very  simple and lack all the artistic exuberances. Generally the Saoras dance during ceremonies and festivals, marriages, and when some important person visits their village. In their dance, group of men and women jumble up together and while dancing the drummers and the dancers advance towards each other alternatively with the rhythm of the music. Colourful costumes are worn during the dance. Other decorations include feathers of white fowl and peacock plumes. Besides, old coloured cloths of cotton and silk are tied as turbans by men and wrapped around their chest by women. While dancing they carry swords, sticks, umbrellas and other implements and blow whistles and make peculiar sounds. The musical instruments used at the time of dance consist of drums of various sizes, brass cymbals, brass-gongs and hide-gongs.

Among the Gonds of Koraput, dance is performed throughout the year. Besides this, dances are  performed on special communal occasions like marriage. The boys dress themselves with colourful aprons and turbans during the dance. The turbans are adorned with “cowrie” shells and the apron is adorned with small pieces of mirror. The girls are dressed in hand-woven sarees and silver ornaments. A dancing group is ordinarily formed with 20 to 30 persons of both sexes. Only unmarried boys and girls participate in the dance. The musical instruments are played by boys. Two boys lead the dance with wooden drums. The girls dance in circles with simple steps of one and two, very often bending their bodies forward. The steps of the boys are more varied and subtle.

Dance among the Koyas is richly varied and sophisticated. The most important occasion for dancing is the worship of the mother goddess in the month of Chaitra (April-May). Ordinarily both boys and girls participate in dancing but the girls are more conspicuous. However, in the festival only girls participate. During the dance, the girls keep rhythm by beating sticks on the ground which are fitted with small bells. Dance groups are formed by about 30 to 40 persons. The most conspicuous movement about Koya dance is the complicated winding and unwinding of circles formed by girls.

Gadaba dance is performed by women who wear the famous “Keranga” sarees and have their distinctive hair style. The men play the musical instruments. Chaitra and Pausa are the dancing seasons. The Gadaba women dance in semi-circles with steps of three and four which they gradually change to eight. The body is often bent forward. Very skillful moves are made on the  heels.

Kondh dance is mostly confined to unmarried boys and girls and free mixing of the sexes is allowed during dancing. The dances are performed especially when the boys or girls of one village visit another village. The dance forms an item in the daily routine of the Kondh, when the boys and girls in their dormitories meet after the day’s toil. No instrument accompanies the dance of the Kondhs of Koraput. The girls dance in lines and the boys dance behind and in front of them. The dance of the Phulbani Kondh is more colourful. The girls wear sarees in two pieces and bangles on their ankles. They dance in rows, facing rows of boys who sing songs and play on hand drums. Songs play a very important part in the dance. Special dances are performed during buffalo sacrifice, called the Kedu festival.

The dance of the Oraons of Sundargarh and Bolangir districts is performed in front of the village dormitories. The boys and girls participate in the dance. The line of dancers go round and round headed by the leading dancers.

The Parajas dance during the Chaitra parba, the dance often lasting from dusk to dawn. The girls wear colourful handwoven sarees; silver and brass jewellery; and hold a bunch of peacock feathers in their hands. The movements are extremely graceful and the music is provided by the drum, flute and the “Dudunga” – a country-made string instrument.

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